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THE  JENNY  LIND 
MEDALS  AND  TOKENS 


By  LEONIDAS  WESTERVELT 


THE  AMERICAN  NUMISMATIC  SOCIETY 
BROADWAY  AT  156th  STREET 
NEW  YORK 
1921 


PUBLICATIONS 


The  American  Journal  of  Numismatics  t 
1866-date. 

Monthly,  May,  1866- April,  1870. 

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Annual,  1913-date. 

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index  to  the  first  50  volumes  has  been  issued 
as  part  of  Volume  51.  It  may  also  be  pur- 
chased as  a reprint  for  $3.00. 


The  American  Numismatic  Society.  Catalogue 
of  the  International  Exhibition  of  Contempo- 
rary Medals.  March,  1910.  New  and  revised 
edition.  New  York.  191 1.  xxxvi,  412 
pages,  512  illustrations.  $10.00. 

The  American  Numismatic  Society.  Exhibition 
of  United  States  and  Colonial  Coins.  1914. 
vii,  134  pages,  40  plates.  $1.00. 


JENNY  LIND. 

From  a lithograph  by 
Sarony,  New  York,  1850, 
in  the  collection  of  the  Author. 


THE  JENNY  LIND 
MEDALS  AND  TOKENS 


THE  AMERICAN  NUMISMATIC  SOCIETY 
BROADWAY  AT  156th  STREET 
NEW  YORK 
1921 


COPYRIGHT  1921  BY 

THE  AMERICAN  NUMISMATIC  SOCIETY 


Press  of  T.  R.  Marvin  & Son,  Boston 


hCTTY  CCNIwR 


1 

THE  JENNY  LIND 
MEDALS  AND  TOKENS 

By  Leonidas  Westervelt 

Jenny  Lind,  the  famous  prima  donna, 
was  born  at  Stockholm,  Sweden,  October 
6th,  1820,  in  comparatively  humble  cir- 
cumstances. She  received  her  dramatic 
education  and  early  training  at  the  Mu- 
sical School  of  the  Royal  Theatre,  where 
she  made  her  debut  in  1838,  singing  the 
important  role  of  Agatha  in  Weber’s 
Freischiitz. 

During  the  following  six  years  she  ap- 
peared with  marked  success  in  Finland, 
Denmark,  Germany  and  Austria. 

Her  first  great  triumph,  however,  was 
achieved  in  1844  at  the  Court  Theatre, 
Berlin,  where  owing  to  Meyerbeer’s  in- 
fluence she  had  been  engaged. 

___j 

1 ■ 

NUMISMATIC  NOTES 

j 

2 

1 

THE  JENNY  LIND 

■ 

On  the  1 8th  of  February,  1847,  oc- 
curred in  Vienna  the  memorable  perform- 
ance of  Meyerbeer’s  Vielka.  The  chief 
role  in  this  opera  had  been  expressly  writ- 
ten for  Jenny  Lind,  and  at  the  final  fall 
of  the  curtain  a graceful  compliment 
awaited  her.  Radnitzky,  on  behalf  of 
the  music  lovers  of  Vienna,  had  designed 
an  appropriate  and  finely  conceived  medal 
(see  No.  17),  which,  struck  in  gold,  was 
presented  to  the  young  Songstress,  to-l 
gether  with  a scroll,  encircled  by  a silver 
laurel  wreath,  bearing  the  signatures  of 
leaders  in  the  Viennese  Art-world. 

The  prima  donna’s  noted  London  de- 
but took  place  on  May  4th  of  the  same 
year.  She  had  chosen  the  part  of  Alice 
in  Roberto  il  Diavolo,  one  of  her  most  suc- 
cessful roles,  and  the  crush  caused  by 
those  who  clamored  to  hear  her  is  said 
to  have  been  terrific.  The  Queen,  the 
Prince  Consort,  the  Queen  Dowager,  and 
other  members  of  the  Royal  Family 1 
were  present,  as  well  as  representatives 
from  almost  every  important  family  in 
London.  The  entire  performance  appears 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 

3 

to  have  called  forth  one  long-sustained 
ovation. 

To  mark  this  epochal  event  in  Jenny 
Lind’s  career,  an  artistic  medal  was  struck 
by  Allen  and  Moore  of  Birmingham  (see 
No,  25). 

The  following  Spring,  at  the  request  of 
King  Oscar  I of  Sweden,  Jenny  Lind  re- 
turned to  Stockholm,  the  city  which  'ay 
so  close  to  her  heart,  for  a brief  engage- 
ment at  the  Royal  Theatre.  She  was  to 
give  eight  concerts,  only ; the  tickets  were 
put  up  at  auction,  and  the  entire  profits 
generously  donated  by  her  to  the  fund 
for  the  education  and  support  of  pupils  of 
the  Royal  Theatre  School.  Thus  did  the 
Nightingale  charmingly  pay  a debt  of 
gratitude  to  the  theatre  which  first  gave 
her  voice  to  the  world. 

In  June,  1848,  she  received  a tribute 
illustrating  in  a remarkable  manner  the 
deep-felt  affection  of  her  co-patriots.  A 
portrait  medal  (see  No.  1),  dignified  in 
conception  and  graceful  in  line  — much 
the  finest,  in  our  opinion,  of  all  the  Jenny 
Lind  medals — was  designed  by  the  famous 

AND  MONOGRAPHS 



4 

THE  JENNY  LIND 

Swedish  medallist  Quarnstrom,  and  struck 
in  gold,  in  silver  and  in  bronze  at  the 
Royal  Mint.  The  medals  were  presented 
to  the  Songstress  with  an  address  signed 
by  the  King,  the  Royal  Family,  and  al- 
most every  person  of  prominence  in  Stock- 
holm’s coterie  of  Art  and  Music. 

These  three  medals  were  treasured  by 
the  recipient  throughout  her  life,  and  were 
left  to  the  National  Museum  in  Stock- 
holm, where  they  now  are. 

January  9th,  1850,  was  a most  import- 
ant day  in  the  career  of  Jenny  Lind,  since 
it  was  then  she  signed  the  contract  for 
an  American  concert  tour  under  P.  T. 
Barnum’s  management ; a venture  which 
was  to  bring  her  fresh  laurels  and  a sub- 
stantial fortune. 

When  we  consider  how  she  had  set  all 
Europe  aflame ; had  been  admitted  to  be 
the  greatest  of  living  singers  by  the  first 
musical  critics  of  England,  Prussia,  Aus- 
tria, Sweden,  and  Denmark,  and  even  by 
a large  portion  of  the  critical  press  of 
Paris;  when  we  read  how  people  fought 
to  hear  her  in  London;  how  in  Berlin, 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 


5 


bouquets  were  thrown  at  her  feet;  how 
in  Vienna,  the  students  unhitched  the 
horses  of  her  carriage  and  drew  her 
through  the  streets  in  triumph ; how  the 
Queen  Dowager  of  Sweden  opened  her 
jewel  casket  that  Jenny  might  choose  a 
souvenir;  it  is  hard  to  believe  that  mil- 
lions of  Americans  scarcely  knew  her 
name. 

Notwithstanding  this,  Mr.  Barnum  risk- 
ed a guarantee  of  $187,500  before  the  prima 
donna  set  sail.  But  in  his  memoirs,  he 
frankly  and  shrewdly  explains  his  reasons 
for  the  venture, — which  ultimately  proved 
so  enormously  profitable : 

“ I may  as  well  state,  that  although  I relied 
prominently  upon  Jenny  Lind’s  reputation  as  a 
great  musical  artiste,  I also  took  largely  into  my 
estimate  of  her  success  with  all  classes  of  the 
American  public,  her  character  for  extraor- 
dinary benevolence  and  generosity.  Without 
this  peculiarity  in  her  disposition,  I never 
would  have  dared  make  the  engagement  which 
I did.” 

' 

An  observant  reporter  who  interviewed 
Jenny  about  the  time  of  her  arrival  in 


AND  MONOGRAPHS 


1 


6 

THE  JENNY  LIND 

■ 

America  furnishes  us  with  a colorful  word- 
picture  of  her  charming  appearance : 

“ Her  figure  is  commanding,  her  action  ma- 
jestic, and  her  voice  the  freshest  and  sweetest 
ever  he&fd.  Her  face  which  is  of  an  oval  cast, 
has  all  the  characteristics  of  a Northern  clime ; 
and  one  can  scarcely  fail  to  recognize  the 
unmistakable  lineaments  of  birth  and  country. 
Though  lacking  what  the  world  calls  ‘ beauty’, 
her  face  is  nevertheless  extremely  pleasing  and 
strongly  indicative  of  a pure  and  noble  charac- 
ter which  finds  expression  in  a clear  open  brow, 
an  eye  of  peculiar  brightness,  and  a sweet  kind 
smile  seems  forever  to  linger  around  her  small 
and  well  formed  mouth. 

“ If  we  add  to  that,  luxurious  clusters  of 
auburn  hair,  and  hands  and  feet  of  extreme 
smallness,  and  beauty,  you  have  a faint  but  in 
some  measure  truthful  sketch  of  sweet,  charm 
ing,  generous,  Jenny  Lind.” 

Thousands  of  people  are  said  to  have 
covered  the  shipping  and  piers  in  the 
neighborhood  of  Canal  Street,  and  the 
wharf  was  packed  with  wildly  cheering 
humanity  as  the  S.  S.  Atlantic,  which 
brought  her,  swung  into  its  berth.  The 
ever  prompt  Mr.  Barnum  had  already 
boarded  the  steamer  by  means  of  a 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 

7 

launch,  and  standing  by  the  side  of  his 
noted  visitor,  benignly  received  his  full 
share  of  the  plaudits. 

Mr.  Nathaniel  Parker  Willis,  Editor  of 
the  Home  Journal,  and  quite  a beau  of  the 
period,  no  doubt  was  among  the  throng 
on  the  pier,  for  he  describes  Jenny’s  ar- 
rival in  a good  naturedly  caustic  para- 
graph : 

“ All  the  stars  in  the  Union  have  dimmed 
before  the  star  of  Jenny  Lind.  She  walked 
like  a conqueror  from  the  ship  to  the  dock-gates 
under  an  arcade  of  evergreens  — and  at  its 
entrance  the  American  eagle  (stuffed)  offered 
her  flowers.  All  New  York  hung  around  her 
chariot  on  its  way  to  the  Irving  House  where 
she  was  lodged  like  a princess  ; and  at  midnight 
thirty  thousand  persons  hovered  about  her 
hotel.  At  one  in  the  morning,  one  hundred  and 
fifty  musicians  came  up  to  serenade  her,  led  by 
seven  hundred  firemen,  to  pump  upon  the  en- 
thusiasm, we  suppose,  in  case  it  should  get  red 
hot.” 

The  days  that  followed  must  have  been 
exciting  ones  for  the  Songstress.  Ac- 
customed as  she  was  to  homage,  the 
furore  she  created  in  New  York  and  in 
other  American  cities  seems  to  have  al- 

AND  MONOGRAPHS 

8 

THE  JENNY  LIND 

most  swept  her  off  her  feet.  Indeed,  she 
soon  was  obliged  to  leave  the  Irving  House 
and  take  lodgings  in  a quieter  part  of  the 
city,  to  escape  an  avalanche  of  invitations 
and  attentions. 

We  hear  of  a glove  supposed  to  be  hers 
being  sold  at  a good  round  price ; of  her 
shawl  which  happened  to  drop  from  a 
balcony,  being  instantly  torn  into  shreds 
by  the  overzealous  crowd  below. 

“ Everything  for  sale  has  ‘ Jenny  ’ to 
it ! ” remarked  a lady  in  one  of  the  shops. 
Judging  from  the  following  amusing  news 
items,  clipped  from  contemporary  Boston 
papers,  we  are  inclined  to  agree  with  her. 

One  enterprising  Journal  advertises  a 
‘ Jenny  Lind  tea  kettle  ’,  which  being  fill- 
ed with  water  and  placed  on  the  fire 
“ commences  to  sing  in  a few  minutes  ” ' 
“ A provision  dealer  at  Lynn,”  says  the 
Post,  11  sells  ‘ Jenny  Lind  sausages.’  ” 

“ On  Washington  street,  near  the  Rox- 
bury  line,  there  is  a bar-room  just  opened,! 
under  the  name  of  £ Jenny  Lind  Hotel.’  ” 
“ Our  foreman,”  avers  a well  known 
periodical,  “ made  his  appearance  this 

NUMISMATIC  NOTES 

■ 

MEDALS  AND  TOKENS 

9 

morning  with  a red  and  black  plaid  coat, 
which  our  * devil  ’ soon  christened  as  the 
‘ Jenny  Lind  coat  \ If  this  is  not  the  age 
of  progress,  what  is  it?  ” 

Even  the  Editors,  usually  sedate  and 
sober-minded,  appear  to  have  temporarily 
suffered  from  “ Jenny  Lind  mania 

“Jenny  Lind”,  declares  an  important 
weekly,  “is  the  most  popular  woman  in 
the  world;  at  the  present  moment,  per- 
haps the  most  popular  that  ever  was  in 
it.5’  The  same  paper  speaks  of  the  Night- 
ingale’s warblings  as  notes  “which  she 
spins  out  from  her  throat  like  the  attenu- 
ated fibre  from  the  silkworm,  dying  away 
so  sweetly  and  so  gradually,  till  it  seems 
melting  into  the  song  of  the  seraphim, 
and  is  lost  in  eternity 
To  turn  once  more  to  the  serious  side 
of  the  prima  donna’s  career,  her  first 
American  concert  was  held  in  Castle  Gar- 
den on  Wednesday  evening,  September 
the  nth,  1850.  Under  Mr.  Barnum’s 
direction  the  4,484  tickets  were  sold  at 
public  auction,  the  average  price  paid  per 
ticket  being  $6.38.  The  entire  amount 

’ 

• 

AND  MONOGRAPHS 

10 

THE  JENNY  LIND 

received  was  $17,864.05.  Mr.  John  N. 
Gennin  bid  in  the  first  ticket  for  $225 ; 
regarding  this  incident,  it  is  an  open  secret 
that  he  acted  on  the  advice  of  the  wily 
Mr.  Bamum.  The  benefit  derived  was 
mutual  however,  since  Gennin’s  name  ap- 
peared in  every  paper  in  the  Union  and 
his  reputation  as  a fashionable  hatter  was 
permanently  established. 

Theimmense  success  made  by  the  Night- 
ingale in  her  first  concert  is  a matter  of 
history  and  need  not  be  dwelt  on  here, 
but  it  ds  interesting  to  note  that  true  to 
her  generous  heart  and  wide  sympathy, 
she  freely  gave  her  entire  share  of  the 
proceeds  of  this  concert  and  the  second, 
over  $10,000,  to  charitable  institutions  in 
New  York. 

Mr.  Barnum  displayed  his  Yankee 
shrewdness  by  quickly  taking  advantage 
of  the  advertising  value  of  this  act;  the 
medal  struck  under  his  supervision  is  char- 
acteristic of  the  showmen’s  craft  (see  No. 
4).  For  the  obverse,  he  freely  borrowed 
the  head  on  Radnitzky  medal  (see  No. 
17)  ; the  reverse,  forcibly  emphasizes  the 

NUMISMATIC  NOTES 

. MEDALS  AND  TOKENS 

11 

success  of  the  first  Castle  Garden  concert, 
and  Jenny’s  benevolent  gift.  This  medal, 
struck  in  white  metal,  undoubtedly  sold  in 
large  numbers  as  an  interesting  souvenir. 

After  “ taking  New  York  by  song”, 
Jenny  Lind  visited  Boston,  Providence, 
Philadelphia,  Washington  and  other  prom- 
inent cities  in  the  West  and  South,  also 
journeying  to  Cuba  where  she  remained 
a month.  Everywhere  she  met  with  pro- 
nounced success  and  unqualified  praise 
from  both  public  and  critics. 

At  the  termination  of  the  ninety-fifth 
concert  she  permanently  concluded  her 
engagement  with  Mr.  Barnum,  as  a clause 
in  the  contract  enabled  her  to  do,  and 
continued  the  tour  under  her  own  man- 
agement. 

On  February  5th,  1852,  while  in  Boston, 
she  was  married  to  Mr.  Otto  Goldschmidt, 
a friend  of  her  girlhood,  and  a musician 
of  note  who  had  been  her  accompanist 
during  the  latter  part  of  the  American 
tour. 

In  the  spring,  Jenny  Lind  Goldschmidt 
passed  through  England  on  her  way  to 

AND  MONOGRAPHS 

12 

THE  JENNY  LIND 

Germany.  She  gave  occasional  concerts 
in  German  and  Austrian  cities,  and  in 
1 863  once  more  delighted  her  admirers  in 
London  at  an  historic  revival  of  Handel’s 
music  to  the  Allegro  and  the  Penseroso 
pf  Milton. 

During  all  her  wanderings  and  tri- 
umphs, the  Nightingale  never  forgot  the 
city  of  her  birth.  She  was  made  a mem- 
ber of  the  Royal  Musical  Academy  of 
Stockholm  in  1840,  and  in  1883,  she  re- 
turned to  serve  there  as  Professor  of  Sing- 
ing for  a term  of  three  years. 

Her  death  occurred  at  her  home,  among 
the  beautiful  Gloucestershire  hills  of  Eng- 
land, November  2nd,  1887. 

As  a mark  of  appreciation  of  the  untir- 
ing and  devoted  service  of  Jenny  Lind 
Goldschmidt,  the  Academy  in  1891  caused 
a very  beautiful  portrait  memorial  medal 
to  be  struck  in  her  honor.  (See  No.  2.) 
It  was  designed  by  Adolf  Lindberg,  En- 
graver of  medals  to  the  King  of  Sweden, 
and  struck  in  gold  and  in  silver  at  the 
Royal  Swedish  Mint. 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 

13 

DESCRIPTION  OF  THE  MEDALS  AND 

TOKENS 

i Portrait  Memorial  Medal. 

Obv.  Draped  bust,  to  left ; legend,  jen- 

ny -Lind.  Below,  close  to  border  at 

right,  name  of  the  engraver,  p.  h.  lund- 
gren,  fec.  ; at.  left,  name  of  designer, 

C.  G.  QUARNSTROM,  INV.  Plate  I 

Rev.  Four  symbolic  figures  — Genius  of 
Song  (with  harp)  is  seated  on  throne, 
Patriotism  (with  shield  and  palm)  stands 
right,  Charity  (holding  child)  left,  and 
Gratitude,  bearing  a wreath  of  immor- 
telles, kneels  at  foot  of  throne ; and  in- 
scribed on  its  base,  the  date  3 dec. 
1847  | d.  12  April  . 1848.  In  exergue, 

MINNESGARD  | AF  TONKONSTENS  VAN- 

ner  | I Stockholm — In  memory  of  the 
friends  of  Lyric  Art  in  Stockholm.  The 
whole  within  a border  of  eight  laurel 
wreaths,  alternating  with  eight  harps ; 
ribbon  streamers  between.  In  the 

wreaths  are  inscribed  the  chief  operatic 
roles  sung  by  Jenny  Lind,  viz : norma 

— LUCIE — AGATHA — AMINA — SUSANNA — 

ALICE — MARIE — ADINA. 

Size  78  mm.  Bronze.  Plate  II 

AND  MONOGRAPHS 

14 

THE  JENNY  LIND 

‘ 

Struck  at  the  Royal  Swedish  Mint  in 
1848. 

Ludwig  Petersen  Lundgren,  the  en- 
graver of  the  medal  was  Mint-engraver  at 
Stockholm,  1818-1854. 

The  two  dates  given  on  the  medal  were 
the  dates  of  the  gifts  (approximately 
$9,165),  made  by  Jenny  Lind  out  of  the 
profits  of  her  last  operatic  season  in 
Sweden,  to  the  fund  for  the  education 
and  support  of  pupils  of  the  Royal  Thea- 
tre School. 

Medals  from  this  design  were  struck  in 
gold,  silver  and  bronze.  They  were  pre- 
sented to  Jenny  Lind  in  the  spring  of 
1848,  accompanied  by  the  following  ad- 
dress which  bore  the  signatures  of  the 
King  of  Sweden,  the  Royal  Family,  and 
representatives  of  every  important  house- 
hold in  Stockholm : 

“ To  Jenny  Lind  — 

“ The  lovers  of  music  at  Stockholm 
have  during  the  present  spring,  as  well 
as  during  the  winter  season  of  1847-1848 
enjoyed  a succession  of  memorable 
feasts,  at  wdiich  they  have  admired 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 

15 

alike  the  Artist’s  genius,  and  the  no- 
bility of  heart  wherewith  she  had  dedi- 
cated her  triumphs  exclusively  to  char- 
ity and  benevolence,  and  has  thereby 
testified  that  the  aim  of  true  Art  is 
something  higher  than  to  please  and  to 
astonish. 

“ Having  been  privileged  to  witness 
these  festivals  of  Art  where  the  beauty 
of  the  soul  found  its  expression  through 
the  medium  of  song,  the  lovers  and 
friends  of  music  are  desirous  that  the 
great  Artist,  on  leaving  her  native 
country,  should  carry  away  with  her 
some  outward  token  of  this  period  of 
her  life,  of  which  the  inner  memory, 
which  is  at  all  times  the  companion  of 
virtue,  will  follow  her  through  life ; un- 
til that  other  world  is  unveiled  to  her, 
of  which  she  has  been  the  messenger 
to  us  through  the  language  of  music. 

“ The  undersigned  have  received  the 
agreeable  charge  of  handing  to  her  this 
simple  souvenir.” 

2 Prize  Medal  of  the  Royal  Mu- 
sical Academy,  Stockholm. 

Obv.  Draped  bust,  to  left ; legend,  jen- 
ny LIND  • GOLDSCHMIDT,  FODD  6 OKT. 

AND  MONOGRAPHS 

I6 

THE  JENNY  LIND 

1820  dod  2 nov.  1887 — Born  Oct. 
6th,  1820;  died  Nov.  2nd,  1887.  In 
field,  back  of  neck,  the  name  of  the 
designer,  adolf  lindberg, 

Rev.  The  Goddess  of  Genius  and  Art 
seated  to  right,  inscribing  a name  on  a 
tablet  with  a stylus.  On  the  left  is  a 
laurel  branch  and  a lyre ; on  the  right,  an 
incense  brazier  and  two  books.  Above 
Symbolic  Figure,  close  to  border,  and  A • 
och  • konst  — The  Spirit  of  Art.  In1 
the  exergue,  af  kongl  • musikaliska 
akademien  — By  the  Royal  Musical 
Academy.  The  name  of  the  designer 
is  repeated  close  to  the  border  at  left. 
Size  50  mm.  Gold.  Silver.  Plate  III 

Struck  by  the  Royal  Musical  Academy 
in  1891  at  the  Swedish  Mint. 

Adolf  Lindberg,  the  designer  was  Pro- 
fessor of  drawing  at  the  official  School  of 
Art  in  Stockholm;  also,  “Engraver  of 
Medals  ” to  the  King  of  Sweden. 

3 As  last.  Bronze. 

4 Memorial  Medal.' 

Obv.  Head  to  left ; legend,  jenny 

LIND. 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 

17 

Rev.  Inscription  in  two  concentric  cir- 
cles, and  four  parallel  lines  in  field;  a 
star  above  first  parallel  line:  first 

CONCERT  IN  AMERICA  | PROCEEDS  35,000 

DOLLARS AT  CASTLE  GARDEN  | N.  Y. 

SEP.  II.  1850  | ATTENDED  BY  | 7,000 

PEOPLE  $12,500  GIVEN  BY  MISS 

LIND  TO  CHARITABLE  INSTITUTIONS 

Size  42  mm.  White  metal.  Struck  in 
New  York,  1850.  Plate  IV 

5 As  last.  Bronze. 

6 As  last. 

Size  40  mm.  Cream  colored  composi- 
tion. 

7 Jeton  or  Card  Counter. 

Obv.  Head  to  left  similar  to  preceding ; 

legend,  jenny lind.  On  trunca- 

tion  of  neck,  the  name  of  the  die-sinker, 

LAUER. 

Rev.  JETON , lettering  slightly  oblique, 
encircled  by  two  branches  of  oak  leaves 
joined  below  by  a knot  of  ribbon. 

Size  22  mm.  Gilt  bronze.  Plate  V 

Struck  in  Nuremberg. 

AND  MONOGRAPHS 

i8 

THE  JENNY  LIND 

Ludwig  Christopher  Lauer  was  a cele- 
brated medallist  and  counter-manufact- 
urer of  Nuremberg,  1848-1873. 

A similar  jeton  but  with  laurel  branches 
instead  of  oak  branches  is  reported.  See 
Andorfer  and  Epstein’s  Musica  in  Nummis , 
p.  191. 

8 Jeton  or  Card  Counter. 

Obv.  As  last,  but  unsigned,  and  with 
milled  border. 

Rev.  The  word  jeton  in  upright  letters 
instead  of  slightly  oblique ; oak 
branches  more  bushy.  Milled  border. 

Redder  in  color,  containing  more  cop- 
per alloy.  Slightly  thicker. 

9 Jeton  or  Card  Counter. 

Similar  to  No.  7. 

Size  19  mm.  Brass.  By  Lauer. 

10  Jeton  or  Card  Counter. 

Obv.  Similar  to  No.  7. 

Rev.  A spread  eagle  supporting  a United 
States  shield,  and  holding  in  its  talons  a 
branch  of  laurel  and  a bundle  of  arrpws. 
Above,  JN  UNITATE  FORTITU  DO 

NUMISMATIC  NOTES 

j 

MEDALS  AND  TOKENS 

19 

— In  Unity  there  is  Strength.  Below, 
1850. 

Size  22  mm.  White  metal.  By  Lauer. 

Plate  V 

A specimen  of  this  medal  without  sig- 
nature is  reported.  See  Andorfer  and  Ep- 
stein’s Musica  in  Nummis.  Note  to  No. 
380. 

11  As  last.  Copper.  By  Lauer. 

12  Jeton  or  Card  Counter. 

Obv.  Similar  to  No.  7. 

Rev.  Within  a laurel  wreath,  tendit  ad 
astra  — She  directs  her  course  toward 
the  stars. 

Size  22  mm.  Copper.  By  Lauer. 

Plate  V 

13  Jeton  or  Card  Counter. 

Obv.  Similar  to  No.  7. 

Rev.  Within  a wreath  of  laurel  and  oak 
branches  tied  with  a knot,  spiel- | pfen- 
nig. 

Size  21  mm.  Brass.  By  Lauer. 

Plate  VI 

14  Jeton  or  Card  Counter. 

Obv.  As  last.  (Not  signed.) 

AND  MONOGRAPHS 

20 

THE  JENNY  LIND 

Rev.  Within  laurel  wreath,  spiel  marke. 
Size  20  mm.  Metal  not  mentioned.  By 
Lauer.  See  Andorfer  and  Epstein’s  Mus- 
ica  inNummis.  No.  977. 

15  Jeton  or  Card  Counter. 

Obv.  Similar  to  No.  7. 

Rev.  Maltese  cross  surrounded  by  rays 
within  a laurel  wreath. 
wer  wagt  * gewinnt — Nothing  ven- 
ture, nothing  have.  At  bottom,  rosette 
between  two  small  stars. 

Dentelated  borders  on  obverse  and  re- 
verse. 

Size  mm.  Brass.  Plate  VI 

16  Commemorative  Medal. 

Obv.  Head  to  left.  Legend  jenny  lind 
behind  the  head,  close  to  border.  At 
base  of  neck  is  the  name  of  the  de- 
signer, C.  RADNITZKY. 

Rev.  A swan,  the  emblem  of  song,  with 
branch  of  laurel ; above,  the  motto 
nescit  * occasum  — Her  star  remains 
in  the  ascendant.  Below,  der  | hohen 

KUNSTLERIN  | IHRE  BEGEISTERTEN  | 
VEREHRER  | MDCCCXLVII  | WIEN — To 

NUMISMATIC  NOTES 

21 


MEDALS  AND  TOKEN'S 


the  famous  Artist,  from  her  enthusias- 
tic admirers;  Vienna,  1847. 

Size  43  mm.  Gold. 

This  medal  was  presented  to  Jenny 
Lind  on  the  evening  of  the  first  perform- 
ance of  Meyerbeer’s  opera,  “Vielka,” 
(composed  expressly  for  her)  in  Vienna, 
Feb.  18,  1847. 

C.  Radnitzky,  the  designer  of  the  medal, 
was  one  of  the  most  talented  medallists 
of  his  generation.  He  was  born  in  Vienna, 
1818,  and  died  in  1901. 

17  As  last,  dark  red  composition. 

Plate  VII 

18  Memorial  Medal. 

Obv.  As  last,  but  the  legend  jenny  lind 
is  in  front  of  the  head  and  is  followed 
by  a small  ornamental  scroll.  Date, 
1850,  at  back  of  neck. 

Rev . SUCH  A SACRED  | AND  | HOME-FELT 
DELIGHT  | SUCH  SOBER  CERTAINTY  | OF 
WAKING  BLISS  | I NEVER  HEARD  | TILL 
NOW  . | MILTON. 

Raised  border,  obverse  and  reverse. 

Size  40  mm.  Bronze.  Plate  VIII 


AND  MONOGRAPHS 


22 

THE  JENNY  LIND 

Struck  in  America,  1850. 

The  head  on  the  obverse  of  this  medal 
was  copied  from  the  Vienna  medal.  (No. 
16.)  The  quotation  on  the  reverse  is  from 
Milton’s  comus  ; lines  262-264. 

19  As  last.  White  metal. 

20  Jeton. 

Obv.  Similar  to  No.  4. 

Rev.  Similar  to  No.  16,  except  that  the 
inscription  below  swan  is  omitted. 

Size  19  mm.  Brass.  By  Lauer. 

21  As  last.  White  metal. 

22  Medal. 

Obv.  Similar  to  No.  4. 

Rev.  TO  THE  QUEEN  of  song,  in  laurel 
wreath. 

Size  14  mm.  Milled  edge.  Silver. 

Plate  VI 

23  Medal. 

Obv.  Head  and  bust  facing  front.  Leg- 
end, JENNY  LIND. 

Size  67  mm.  Copper  shell. 

24  Medal. 

Obv.  Similar  to  No.  23. 

NUMISMATIC  NOTES 

MEDALS  AND  TOKENS 

23 

Rev.  Blank. 

Size  65  mm.  White  metal  coppered. 

25  Commemorative  Medal. 

Obv.  Head  and  shoulders  facing  front. 

Legend,  jenny lind  Date  under 

right  arm  close  to  border,  1847. 

Rev.  Lyre  surrounded  by  cluster  of  lilies 
and  roses ; nightingale  resting  on  top 
twig.  Legend,  above,  nescit  * occa- 
sum  ; below,  nata  1821. 

Ornamental  border,  obverse  and  re- 
verse. 

Size  54  mm.  White  metal.  Plate  IX 

Struck  in  Birmingham,  England. 

This  medal  was  struck  to  commemorate 
Jenny  Lind’s  triumphant  debut  at  Her 
Majesty’s  Theatre,  London,  May  4th, 
1847.  The  year  of  Jenny  Lind’s  birth  as 
stated  on  this  medal  (1821)  is  erroneous. 
She  was  born  on  October  6th,  1820.  (See 
No.  2.) 

26  Similar  to  No.  25. 

Size  55  mm.  White  metal  gilded. 

27  Similar  to  No.  25. 

Size  54  mm.  6 mm.  thick.  Bronze. 

- 

AND  MONOGRAPHS 

24 

THE  JENNY  LIND 

28  Similar  to  No.  25. 

Obv.  Date  under  right  arm  omitted. 

Size  27  mm.  Copper. 

29  As  last.  Bronze. 

30  Similar  to  No.  25,  except  under  right 
arm  instead  of  date,  initials  A & M — 
Allen  & Moore,  the  die-sinker’s  mark. 
Size  45  mm.  White  metal. 

Allen  & Moore  of  Great  Hampton  Row, 
Birmingham,  England — afterwards  Joseph 
Moore,  Sumner  Lane  and  Pitsford  St., 
have  an  excellent  record  in  die-sinking, 
dating  from  about  1850.  They  may  be 
regarded  as  following  the  best  nineteenth 
century  artists  of  the  Birmingham  school. 

31  Similar  to  No.  30. 

Size  38A2  mm. 

32  Jeton. 

Obv.  Similar  to  No.  25. 

Rev.  vSimilar  to  No.  25,  but  nightingale 
omitted. 

Size  22  mm.  Brass. 

NUMISM AT  I C NOTES 

MEDALS  AND  TOKENS 

25 

No.  2 is  in  the  Royal  Musical  Academy, 
Stockholm;  Nos.  3,  18,  26  and  27  are  in 
the  British  Museum,  London;  Nos.  6,  15, 
22  and  31  are  from  the  collection  of  the 
American  Numismatic  Society,  New  York ; 
Nos.  9,  13,  23,  24  and  28  are  from  the  col- 
lection of  Mr.  Elliott  Smith;  No.  19  is 
from  the  collection  of  Mr.  C.  N.  Hinck- 
ley ; the  remainder  are  from  the  collection 
of  the  author. 

■ 

1 

AND  MONOGRAPHS 

JENNY  LIND 


Plate  I 


JENNY  LIND 


Plate  II 


JENNY  LIND 


Plate  III 


JENNY  LIND 


Plate  IV 


JENNY  LIND 


Plate  V 


! 

1 


i 


IP 


JENNY  LIND 


Plate  VII 


JENNY  LIND 


Plate  VIII 


JENNY  LIND 


Plate  IX 


PUBLICATIONS 


Ernest  Babelon.  Les  Medailles  Historiques  du 
Regne  de  Napoleon  le  Grand,  Empereur  et 
Roi.  Paris.  1912.  Folio,  lx,  430  pages 
printed  in  three  tones,  a special  border  for 
every  page.  Illustrating  two  hundred  unpub- 
lished drawings  of  Napoleonic  medals,  .... 
by  Chaudet  and  Lemot  for  ....  the  French 
Institute.  $ 20.00 . 

Agnes  Baldwin.  The  Electrum  Coinage  of 
Lampsakos.  1914.  36  pages.  2 plates.  $1.00. 

Edward  T.  Newell.  The  Seleucid  Mint  of  An- 
tioch. 1918.  137  pages.  13  plates.  $5.00. 

Edward  T.  Newell.  Tarsos  under  Alexander. 
1919.  47  pages.  8 plates.  $2.50. 

Bauman  L.  Belden.  War  Medals  of  the  Con- 
federacy. 1915.  12  pages.  1 plate.  $1.00. 

Bauman  L.  Belden.  U nited  States  W ar  Medals. 
1916.  72  pages.  9 plates.  $2.00. 

Edgar  H.  Adams  and  William  H.  Woodin. 
United  States  Pattern,  Trial  and  Experimen- 
tal Pieces  ....  issued  by  the  U.  S.  Mint 
from  1792  up  to  the  present  time.  1913.  204 
pages.  Ulus.  Cloth,  $3.00. 


GETTY  CENTER  LIBRARY 


3 3125  00885  5989 


PUBLICATIONS 


Edward  T.  Newell.  The  Alexandrine  Coinage 
of  Sinope.  1919.  n pages.  2 plates. 
$2.50. 

Edward  T.  Newell.  Myriandros  — Alexandria 
Kat’isson.  1920.  42  pages.  2 plates. 

#3.00. 

Agnes  Baldwin.  The  Electrum  and  Silver  Coins 
of  Chios.  1915.  60  pages.  7 plates. 

$ 2.00 . 

Albert  R.  Frey.  Dictionary  of  Numismatic 
Names.  1917.  31 1 pages.  $5.00. 

Henry  C.  Miller  and  Hillyer  Ryder.  The  State 
Coinages  of  New  England.  (Conn. — 
Vermont — Mass.).  7 plates.  $3.00. 

Moritz  Wormser.  Coins  and  Medals  of  Tran- 
sylvania. 9 plates.  $3.00. 

Theodore  Spicer-Simson.  Portrait  Reliefs, 
Medals  and  Coins  in  their  Relation  to  Life 
and  Art.  $1.50. 

Robert  W.  McLachlan.  The  Copper  Tokens 
of  Upper  Canada.  4 plates.  $3.50. 

Eugene  G.  Courteau.  The  Wellington  Tokens 
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